John IRELAND (1879-1962)
Fantasy Sonata for Clarinet and Piano (1943) [14:22]
The Land of Lost Content (1920/21): The Lent Lily [2:33];
The Vain Desire [2:36]
Santa Chiara (Palm Sunday) Naples (1925) [2:44]
Rhapsody for Piano (1915) [7:51]
Mother and Child (song cycle) (1918) [11:17]
Sonata for Cello and Piano (1923) [21:57]
Julian Hellaby (piano); Peter Noke (piano) (Cello Sonata); Naomi
Wright (cello); Linda Merrick (clarinet); Catriona Lang (soprano)
rec. ASC Recording, Macclesfield, Cheshire, 12-14 September 2011
ASC RECORDS ASCCD150 [63:20]
This outstanding CD opens with one of John Ireland’s
‘late’ works - in spite of the fact that it was composed nearly
twenty years before his death in 1962. It was his last major work for
chamber ensemble.
The liner-notes suggest that the Fantasy Sonata for clarinet
and piano was in the ‘line of succession’ from the Cobbett
Chamber Competitions which demanded a one-movement work that nodded to the
early English ‘fancy’. However the present sonata is actually a
considerable development of that form. What Ireland has achieved is the
metamorphosis of the ‘Phantasie’ into that of a formal sonata.
Although the work is nominally in one fourteen minute sweep, the actual
structure reflects three ‘interrelated but unrepeated sections’.
The Fantasy Sonata can be seen as a summing up of the
composer’s musical styles. There are elements of impressionism here,
possible allusions to Brahms, an extension of his characteristic
bitter-sweet harmonies and even the ‘jazzy’ mood that was a
feature of his Piano Concerto. In a contemporary article, Scott Goddard
suggested that there is a stylistic balance between the ‘newer’
instrument (the clarinet) and the ‘older’ piano. This is a deep
work that has autumnal colouring, however it is also broadly optimistic; I
note the especially beautiful ‘tranquilo’ section at the start
of the nominal ‘slow movement’. Linda Merrick and Julian Hellaby
give a definitive performance.
The Fantasy-Sonata was dedicated to Frederick Thurston, who gave the
premiere in aBoosey and Hawkes concert at the Wigmore Hall on 29
January 1944: the pianist was Kendall Taylor.
I was a little disappointed that space could only be found for two of the
songs
from the Housman cycle The Land of Lost Content. The
opening
number The Lent Lily and the fourth song Vain Desire have been
included
and are well sung. The ‘agnostic’ Santa Chiara
(Palm
Sunday: Naples) with words by Arthur Symons may well echo the
composer’s
‘inner conflict between Christianity and paganism’: it is full
of
sorrow and despair. This is a beautiful description of Palm Sunday in the
Bay
of Naples -‘The sea is blue from here to Sorrento/And the sea wind
come
to me’.
The Rhapsody (1915) is a big, complex work that has been
described as a ‘symphonic poem for piano’. It was composed in
1915 during the First World War and reflects the composer’s troubled
mood at this time. The progress of the work is dominated by the contrasting
of two themes - one ‘rugged and assertive’ and the other
‘more pastoral and reflective’. The Rhapsody is well-played here
with an ideal balance of the two prevailing temperaments.
I must confess to not being a great fan of the song cycle
Mother and Child which are settings of poems by
Christina Rossetti. There is always a danger that these sentimental verses
become morose and lachrymose. Although the words may no longer appeal to the
modern ear three things can be said in mitigation. Firstly, in
Rossetti’s time, many more children died young than is now the case.
Secondly, Ireland’s attraction to these poems may well reflect his
anguished approach to the loss of many friends during the Great War: they
were composed in 1918. Lastly, whatever the listener’s feelings may be
about the naivety of the text there is no doubt about the quality of the
music. Ireland has pared down his largely ‘romantic’ piano
accompaniment style to the barest minimum: there is nothing
‘splashy’ here, only a perfectly judged balance between singer
and accompanist. These songs are given a beautiful performance: Catriona
Lang manages to bring out their essence without ever becoming mawkish. It is
a rare achievement.
There are nine or ten versions of the Cello Sonata currently
on the books of the Arkiv catalogue, so it is interesting to hear another
offering. It was completed during December 1923 and was premiered the
following year by Beatrice Harrison and Evlyn Howard-Jones. This is not
programme music; however it is difficult not to sense some of the feeling
that imbued works such as The Forgotten Rite. Places associated with
this work may include The Devil’s Jump and Chanctonbury Hill, both in
Sussex. The Sonata is written in three movements: moderato e
sostenuto, poco largamente and finale, con moto a marcato.
Musically, this is tightly constructed and has cross-referencing of themes
across all movements. For me the highlight is the introverted middle
movement - one of the loveliest things in the cello/piano literature. The
work has been well described by Marion Scott as ‘... beginning quietly
for cello alone, is cumulative and [ends] very brilliantly!’ This
performance by Naomi Wright and Peter Noke is impressive.
The CD sound quality is excellent. The liner-notes are a good basic
introduction to the composer and this music; however, I felt they could have
been a little more fulsome. For examples, the great Rhapsody is dealt
with in just over 50 words, with nearly half of these discussing the early
1906 Rhapsody. The performances are all enjoyable; however I was most
impressed by the Fantasy Sonata. It will be my preferred version over the
coming years.
This CD is a fine introduction to the music of John Ireland - featuring
chamber
works, a piano piece and a number of songs. The project had been supported
by
the John Ireland Charitable Trust and is worthy of support. All John Ireland
fans
will want this CD in their collection.
John France
All John Ireland fans will want this CD in their collection.
Support us financially by purchasing
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